Dreamers Welcome Television (2020). Digital, online, video. Three months, 24 hours a day.

What happens when fifty-five artists, isolated in their homes across the world, contribute to a single accumulating channel? In mid-March 2020, when COVID-19 shut down New York City overnight, Mutual Phase launched Dreamers Welcome Television, a 24/7 online channel broadcasting from Dreamers Welcome in Brooklyn. The framework was simple: artists submit work from wherever they are, in whatever form they choose, with one condition. Everything on the channel is "calming and/or relaxing and/or pleasant." At any hour, anyone could tune in knowing what they found would be enriching and all-ages appropriate. A TV Guide listed programming alongside artists' Venmo names and social handles so viewers could support them directly.

Fifty-five artists and artist groups contributed over three months. It started close to home. A puppeteer in Brooklyn launched a weekly segment called "Out of Work Puppeteers." Fungos Amongus cooked. The Painted Cloud contributed Drawings and Thoughts. In Ridgewood, Queens, Michelle Ishikawa filmed fifteen minutes in the life of a magnolia tree every day during peak bloom, rain or shine, with a daily changing soundtrack. Then outward. Damien Mitchell shared his process of making a handmade leather wall-planter from Baton Rouge, Louisiana. In Los Angeles, composer Heather MacIntosh and musician Charlie played naptime music. Aldous RH sang an original song under a tree in a park in Manchester. Os Fabulosos submitted a dance video filmed outside in Rio de Janeiro. Wu Man, trained at the Central Conservatory of Music in Beijing, performed on the pipa. Each contribution came from wherever they were. The channel turned those individual acts into a continuous, collective stream.

Mutual Phase also went out into the city and filmed, capturing Times Square desolate and empty at 5pm on a Friday and trees in Brooklyn marking spring while everyone was inside. This footage anchored the channel in a specific place and moment while the contributed work opened it outward, from Brooklyn to Beijing, Rio de Janeiro to Ridgewood, Manchester to Baton Rouge to Alaska.

People were lonely. Artists were making work with no one to show it to. Parents felt guilty plugging their kids into screens but had no alternative. DWTV made the screen a place to show up. The channel was not about demanding stillness or forcing energy. It was about watching other people make things, notice things, observe things, seeing someone across the world still working, still paying attention, still showing up with whatever they had. The "Out of Work Puppeteers" named the condition out loud and received fan mail from viewers. People danced in Rio. Relationships that started through the channel became in-person connections after lockdown.

No one traveled. No materials were shipped. Every artist shared from where they were, with what they had. The whole project was crowd-funded and volunteer-run.

The archive remains at www.dreamerswelcome.tv. What accumulated across those three months still holds evidence of everyone who showed up, and anyone can still tune in.